Commissioned by IRCAM-Centre Pompidou
IRCAM RIM: João Svidzinski

for Valeria Kafelnikov

Premiere : 10.06.2022 – Manifeste 2022 – Amphithéâtre, Cité de la Musique, Paris (F) – Valeria Kafelnikov, harp

Commissioned by Cédric Pescia within the framework of an artistic residence in the atelier of Canton Vaud in Berlin

John Cage in memoriam

Premiere : 20.05.2022 – Théâtre 2.21, Lausanne (CH) – Cédric Pescia, piano

Commissioned by Church Ligerz for the concert season « Musik aus der Stille – La musique du silence »

Premiere : 25.08.2018, 18h15 – Kirche Ligerz (CH) – Jens Ruland, percussion

Piece written as part of Cursus 2015-2016 in IRCAM

impossible and whimsical duet –
games of power,
of imitation, complementarity,
of contamination,
of domination

contradictory music –
explosive and intimate,
resonant and muffled,
bright and rough

captured, infiltrated, escaped;
fleeing sounds.

Premiere : 15.04.2016 – Centre Pompidou, Paris (F) – Rémy Reber (guitar)

Premiere : –

Commissioned by Szu-yu Chen

This piece is a free instrumental transcription (or amplification) of a poem by Ian Monk. It keeps its structure and its mood, and some of its syllables and consonants are amplified by the flute.

y a plus de respect
y a plus de bonjour
y a plus de flics
y a plus de plombiers
y a plus d’électrichiens
y a plus de vrais
légumes qu’on se récolte
dimanche matin pendant que maman
crame le gigot parce qu’
y a pas que ça
à foutre nom de mômes
qui font chier quoi putain
y a plus de silence
y a plus de vraies
chansons d’amour de musique
qui danse quoi qui bouge
y a plus d’au
revoir monsieur dame aux magasins
y a plus y a
plus y a plus y
a plus de doigt levé
quand on veut causer y
a plus de causettes d’
ailleurs ben non c’est
moi qui te le dis

Ian Monk / Plouk Town, pp. 25-26

Premiere : 05.06.2014 – Hochschule für Musik Basel (CH), Grosser Saal – Szu-yu Chen (flûte)

Published by BabelScores

Two main ideas are the basis of this piece : spacialisation as a dominant musical and expressive parameter, and the development of a kind of primitive live-electronics music. Thus four similar electric sound sources (four razors or something of the same kind) are controlled by switches at the foot of the percussionist. Three of them are specialized on stage and the last one is inside the udu.
Therefrom a dramaturgy grows, dealing with the specialization of the sources (simulated moves) and its links with the percussion. These relationships evolve throughout the piece, very schematically from independence to fusion.
The piece has a strong theatrical and ritual aspect. It directs a percussionist trying to tame this persistent and moving sound with his udu.

Another aspect of the piece is the mixing of a ethnic percussion instrument (with its history and its origin) with a modern electric sound of our day-to-day life ; how to interrelate them and create poetry with them.

Premiere : 12.09.2011 – Concours Nicati, Hochschule der Künste Bern (CH) – Julien Mégroz (percussion)

Recording available on Itunes : Julien Mégroz – Natur/Maschine

Freely inspired by a poem by Paul Verlaine.

Premiere : 30.04.2009 – Haute Ecole de Musique de Genève (CH), Place Neuve – Kevin Juillerat (saxophone)

Published by BabelScores

Freely inspired by a poem by Pablo Neruda.

Published by BabelScores

This piece is the first of a four-piece serie called Arabesque. The title refers to a harmonic concept that I developed : a harmony described by several voices with a slow and continuous motion which trace lines of varying thickness through the acoustic space.

Premiere : –